Title: The Protean Nature of Irish Tale: The Generic Analysis of Maria Edgeworth's Ennui
Abstract: ABSTRACT The aim of article is to demonstrate derivative nature of Irish tale, short-lived genre which thrived in Romantic period. The analysis is based on Maria Edgeworth Ennui (1809), which skillfully and self-consciously combines various kinds of factual discourse (e.g. memoirs, autobiographies, travelogues) with diverse fictional modes (romance, melodrama) with view to expose shallowness of English stereotypes about Ireland as well as to call for modernization of Ireland through professionalisation of its gentry. Maria Edgeworth's place in literary history is described in various ways. She is an inheritor of Fanny Burney's tradition of novel of manners, in which, however, as it is widely agreed, she was surpassed by Jane Austen, as well as author of various moral tales addressed both to her children and adult readers. However, most of all Edgeworth is remembered as creator of national tale, (1) which was later transformed into historical novel (2) (Ferris 1991: 105). The Irish tale, however, has recently begun to move into critical purview (Ferris 1996: 288) and it appears that it has not developed its own distinct generic characteristics. Ferris describes it as a worldly and impure genre that sets out to do something with words ... [which] makes central to its whole project often obscured, performative notion of representation in sense of the presentation of something to someone as to create certain (Ferris 1996: 288-289). The Irish tale is medley of diverse conventions, borrowed from historiographic and romance discourse, as well as from moral parables with view to advance thesis. Edgeworth thus produces fables made realistic by use of historiographic tropes, to argue necessity of the professionalization of gentry, remaking of social class to fit it for social leadership of other classes in single, 'national' interest (Kelly 1989: 74). The conflation of factual and fictional conventions frequently, however, results in strong strain of self-consciousness in novel, since narrator not only evinces keen awareness of devices he employs but also subjects conventions he exploits to close scrutiny to probe their usefulness to achieve desired effect on readers. Nowhere is composite nature of Irish tale more conspicuous than in Ennui, tale written in 1804 and published in 1809. The narrative assumes form of memoirs, convention firmly rooted in tradition of eighteenth-century autobiographic fiction, popularised by Daniel Defoe. The professed purpose of story is also in keeping with Defoe's fictional characters' protestations of their willingness to promote virtue. Yet, if Moll Flanders (1722) or Roxana (1734) pleaded didacticism to justify recital of various sins, which proved to be chief attraction of their tale, in story narrated by Lord Glenthorn, protagonist of Ennui, assertions of instructive value of his life have much more genuine ring and thus his sins are devoid of power of allurement, which Defoe's narratives actually have. His is story demonstrating how destructive money, hereditary title and lack of motivation can be, since it leads to titular ennui, or boredom. It is only after he goes to Ireland, learns secret of his lowly birth, and renounces title, that Lord Glenthorn is forced to some exertion that brings him enjoyment of life. Love towards lady provides him with motivation to persevere in hard labour and in end his efforts are rewarded with success. He wins hand of his beloved and fortune that they need. The moral of tale is glaring and it is imposed on readers by means of hackneyed romance tropes. Glenthorn, however, is self-reflexive narrator, and knows they are necessary to make his moralising digestible to readers whose tastes have been spoilt by fictions. …
Publication Year: 2007
Publication Date: 2007-01-01
Language: en
Type: article
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Cited By Count: 1
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